International Print Exchange III - Celebration of the Day of the Dead and the Centenary of the death of Posada a prominent Mexican printmaker.( see June 2013 Blog entry)

Each printmaker who entered, submitted an edition of 15 of a print on the theme and in exchange they will receive a set number of prints (12) by other printmakers who have submitted editions. This exhibition is the whole collection of submitted images in such a variety of printing techniques from all over the world. Printmaker Damon Kowarsky is the driving force behind this exhibition in Melbourne. All are invited to come along to the opening. I am looking forward to receiving my exchange prints from America in the mail shortly and also seeing the whole collection of over 200 prints.

Above: The inked up copper plate before printing through the printing press

Above: the printed image

This type of Mezzotint was created by preparing a copper plate as follows... the copper plate edges were bevelled and the plate cleaned and degreased. Acrylic hard ground was poured onto the plate, step dried and hardened overnight. 400 grit "Wet & Dry" paper was placed over the copperplate, with the grit side in contact with the prepared hard ground surface. The press was set at a heavy pressure and the plate with the "Wet & Dry" paper grit in contact with the set hard ground surface was passed through the press about 10 times with the "Wet & Dry" paper being moved each pass through. The resulting surface was a very fine aquatint pitted surface. The plate was then placed in a Ferric etch solution for about 40 mins. The plate was then ready to scrape & burnish to produce a Mezzotint image.* After seeing Graeme Peebles beautiful and technically perfect Mezzotints at Wisharts gallery in Port Fairy I realize I have a long way to go but the experimental alternate method was worth trying.

Above: Images of the scraping and burnishing with tools Above: the initial inking up process of the plate.

Making the most of maximum solar UV rays present through a terrible 4 day heatwave of temperatures reaching the mid 40's, I decided to use my off cuts of Solar plate, left over from a workshop probably 8 years ago.I used a photograph I took with my I Pad of a little girl at the beach with her bucket and water.Equipment I used....

a homemade exposure unit and Bull Dog clips

"Nobo " transparency film for laser or inkjet printers

UV from the sun

an offcut of solar plate

a computer & printer

The Photoshop elements program

a soft brush and cold running water

printing ink oil based black

Fabriano Rosaspina printing paper

my printing press

This series of photos shows the process of exposing a transparency image through a homemade exposure unit. The transparency and unexposed solar plate are place in position under glass and held in place with bulldog clips.This was then placed in the sun for 1 minute, unclipped and the exposed plate placed under cold running water and brushed in a circular motion to reveal the image.LHS... is an image of the photo manipulated through the Photoshop program, through the edges filter then onto transparent film, this gave linear qualities to the image and the image below was produced by the straight colour photo onto transparency then exposed to UV which gives more tonal qualities.The plates were then inked up and printed through the press, the same as you would with intaglio etched plate.I have yet to explore transparency overlays and collaged elements.

My submission" Madonna of Sorrow" - Homage to Michelangelo's "Pieta" lino cut/collagraph print . Ochosi Editions in Illinois USA conducted The Madonna International Print Exchange II in 2013. The deadline for edition submissions was Oct 25th 2013. The exchange was open to printmakers around the globe and the submitted prints will be exhibited at the Benedictine University in the American spring and then the Brannigan Centre New Mexico with other locations to be notified. The theme was the Madonna , the virgin Guadalupe, Yemaya, Mother Mary, Marian subjects, motherhood, nurturing and a wide range of printing techniques were accepted. The paper size was to be 8"x 11" and the image presented could be up to that size or within. All prints were to be on archival paper. An edition of 15 prints were to be submitted and in return a random selection of printmakers prints will be sent back to all participants early in 2014. The printmakers hail from 12 US states and 4 international countries.http://ochosieditions.blogspot.com.au/2013/11

The addition of colour to this Shell etching by way of a second colour plate has enhanced the image.Still experimenting, however.I used a clear Perspex sheet the same size as the etched copper plate for the application of the colour.I rolled, reduced colour water based Akua ink onto the plastic plate and placed it over the etched shell plate. Because I could see through the reduced colour on the plate, I wiped away the ink, in parts... hence the white areas. That created my colour plate to print first.Using my registration on the press, I printed the colour plate on dampened paper. I then inked up the copper etched shell with oil based black ink.Using the same registration, I printed the black by placing the already printed yellow brown printed paper on top of the face up inked copper shell etched plate.I think the white sections are too regular so I hope to remedy that if I decide to produce a small edition of this image. Wiping back will have to be consistent with an edition of course

Above: The first and the final proof from a water based acrylic hard ground etching on copper. Etched in a Ferric Chloride bath. Printed with Akua water based inks.

Above: Results of a Non toxic Soft Ground etch... ground made with 2 parts water based relief printing ink and 1part clear based floor polish & liquitex pouring medium mix. Interesting background created in the pressing through the press of textures into the soft ground. (It was not quite dry so it lifted a little) Inked up with several colours, it could produce an interesting print.

I spent two fantastic days with valued friend and accomplished Printmaker, Rosemary Eagle. www.rosemaryeagle.comAbove are the results of one of the areas covered, a hard ground copper etching with non toxic techniques.Rosemary also introduce soft ground and sugar lift. ( I have yet to enhance this plate, in my own studio, with dry point and roulette techniques) So much to learn, explore and refine. The two days spent with an accomplished printmaker such as Rosemary Eagle has given me inspiration and a wonderful insight into the non toxic techniques of etching. I can't wait to explore the techniques in earnest in my own studio.Rosemary's husband John Eagle is also a recognised artist in the ceramic area. His elegant forms feature beautiful glazes and he makes a mean Chocolate cake. ( not in his kiln of course!) http://johneagle.weebly.comAll in all they are a pretty inspiring couple and I thank them for their generosity.

Above: Barb Venn's experiments in the combination of Drypoint and Monotype techniques, using plastic plates and also dark field monotype.I conducted 2 print work shops with the Grampians Brushes Workshop Festival 7th-12th September 2013 using environmentally friendly "Akua" water based Inks and versatile Fabriano acid free Italian Printing paper.

MONOTYPE & DRYPOINT- 2 days

Above: Diana Wiseman's results

Dark Field Mono by Cherrie Wood

Monotype by Laurel Curran

Monotype by Cherrie Wood

Plant Monotype by Helen Wansink

Monotype Darkfield byMalinda Ro Koehn

Monotype Apple by Trish Daniel

Dark field Monotype by Jenny Toone

Above: Exhibition of Monotype/Drypoint workshop results at the end of the two days.

COLLAGRAPH Workshop - 4 days

Above: Collagraphs by Diana Wiseman

Collagraphs by Heather Horrocks

Collagraphs by Jo Burgt

Collagraphs by Laurie Andrews

Collagraphs by Helen Hobbs

Final Exhibition of Collagraph Prints & Blocks produced in the 4 days.

Grampians Brushes Workshop Festival 7th - 12th Sept 2013Pictured are Collagraph printing samples - images and blocks printed with "Akua" Waterbased Inks.I am virtually packing up my Studio and transporting it out to Halls Gap on Friday until Thursday afternoon of the next week... the Printing Press, all my materials, prints off the wall and out of my drawers. It should be a wonderful week of printing with my participants. Sat & Sunday - Monotype/Monoprint and Drypoint. Monday through to Thursday - Collagraph. I am looking forward to meeting David Frazer too who is conducting several print workshops on relief printmaking and etching. Many other workshops will be conducted in other art fields with highly respected instructors. Marion Mathews and her team have organised a wonderful program once again.

Author

My name is Val McCann and I am a printmaker and I would like to share some of the work I am developing in this blog. I would love your feedback, advice & contributions. I conduct workshops on printmaking with my portable press.